James II
可否一睹真容？
眼下不见客
维多利亚和阿尔伯特博物馆
倫敦, 英国
仍属馆藏，只是目前没有展出。
- 核实
- 7天前
- 此状态始于
- 2026年9月25日
- 出处
- 博物馆自己的馆藏数据
About the painting
This portrait is painted in enamel on metal. The advantage of enamel over traditional miniature painting (watercolour painted on vellum or, from about 1700, on ivory) is that it does not fade when exposed to light. The process of painting with enamels is, however, less free than the miniature technique and is fraught with danger. The first colours to be laid on the metal support have to be those needing the highest temperature when firing. More colour is added and the enamel refired, the process ending with the colours needing the lowest temperature. Such labour meant that it was an expensive option.
Read on
Enamel was first practised in Britain in the 1630s by the Swiss goldsmith Jean Petitot at the court of Charles I. It was reintroduced around 1680 by a Swede, Charles Boit, although it had remained a hugely popular and fashionable medium in Continental Europe. This enamel of Charles I’s son, James II, was probably not by an English artist. James had become king of Great Britain and Ireland after the death of his brother, Charles II, in 1685, but was devoutly committed to reviving Catholicism in Britain. He was forced to abdicate in the Glorious Revolution of 1688, when the birth of his son, James Edward - later known as the Old Pretender - heightened fears of a Catholic succession to the throne. With the help of Louis XIV of France, James established a court in exile at St Germain near Paris, where he died in 1701. This enamel may have been painted abroad for the use of a loyal supporter in Britain.
维多利亚和阿尔伯特博物馆
作品信息
- 馆藏编号
- P.85-1962
What it shows
已收入目录
出处
- 维多利亚和阿尔伯特博物馆: the museum's own open data · 7天前获取
- 图片： 维多利亚和阿尔伯特博物馆 — © Victoria and Albert Museum, London
